Drifella III is a generative NFT collection by Evil Biscuit, released on Solana in 2025. It is the most thoroughly criticized and most frequently cited exemplar of the schizocollage aesthetic.

The collection comprises 1,333 rooms, each containing a triptych of paintings, for a total of 3,999 individual works. Bauman reports that the collection contains over 5,000 distinct traits — by comparison, CryptoPunks uses 87 traits across its entire 10,000-item collection. The works are viewable in their intended format through a custom frontend, Drifellascape, built by d347h.eth, which simulates a gallery space rather than a feed.

The visual logic is chaos layering: PNG trait layers (paint, pencil, clothing, accessories, meme fragments, art-historical citations) are stacked until the base figure — a Dratini from Pokémon lore — is barely visible. A single room might combine references to Francis Bacon, Kanye West, Twilight memes, and cuckcore characters in the same compositional plane. The room itself contains wall decor, floor toys, and environmental details that extend the triptych into an installation.

Thematically the work is a coming-of-age narrative. The Drifella figure is a Dratini body resurrected with the dark-jester soul of Mifella, the Remilia-adjacent character who, in scene lore, sacrificed himself to birth the Solana avant fork. The Crucifella — introduced in Evil Biscuit’s earlier The Constant Fella (2023) — is the specific visual bridge; without it, Lowbie argued, there is no Drifella III.

The collection is the endpoint of a trilogy: Drifella (2023), Drifella 2 (2024), Drifella III (2025). Each stage increased the density of layers and decreased the legibility of the base figure. Biscuit told Bauman that early Drifella III prototypes were too close to Drifella 2 and needed additional paint layers to achieve their final distortion.

The room format was also an ode to Yeche Lange gallery in New York, where Biscuit’s physical exhibitions had developed the habit of placing miscellaneous figures beside hung objects.

Evidence